E.T.: The Extra-Terrestrial Official Trailer #1 - Steven Spielberg Movie (1982) HD - YouTube E.T.: The Extra-Terrestrial Official Trailer #1 - Steven Spielberg Movie (1982) HD Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Dec 12, 2011 Subscribe to TRAILERS: Subscribe to COMING SOON: Subscribe to CLASSIC TRAILERS: Like us on FACEBOOK: Follow us on TWITTER: E.T.: The Extra-Terrestrial Official Trailer #1 - Steven Spielberg Movie (1982) HD A troubled child summons the courage to help a friendly alien escape Earth and return to his home-world. Directed by Steven Spielberg and starring Dee Wallace Henry Thomas Peter Coyote Robert MacNaughton and Drew Barrymore A science fiction fairytale about an extra-terrestrial who is left behind on Earth and is found by a young boy who befriends him.

This heart-warming fantasy from Director Steven Spielberg became one of the most commercially successful films of all time. Universal - 1982 Movie Review - - 'E.T.,' FANTASY FROM SPIELBERG - NYTimes.com 'E.T.,' FANTASY FROM SPIELBERG By VINCENT CANBY Published: June 11, 1982 THE camera pans across a starry sky so clear that it has the effect of putting you in touch with the galaxies. When you lie on your back and stare into such a night sky, you feel as if you were tumbling upward through space. The camera slowly descends to earth to come to rest on a spaceship, its lights ablaze, comfortably settled in a clearing in a California forest. Small, Munchkin-sized creatures, whose abdomens glow on and off like those of fireflies, attend to their tasks of gathering specimens of earth rocks and plant life. Suddenly the visitors sense that they are about to be discovered. The alarm sounds. It's everyone back on board for an emergency takeoff that, unfortunately, leaves one crew member behind, marooned on a strange planet, without a friend to his generic name.

This is the eerie prefatory sequence to Steven Spielberg's ''E.T. the Extra-Terrestial,'' an enchanted fantasy about the relationship of E.T. and the practical, staunch 10-year-old boy, Elliott (Henry Thomas), who discovers the frightened alien in the toolshed, befriends him and hides him in his bedroom. With the best of intentions and the collaboration of his older brother, Michael (Robert Macnaughton), and his younger sister, Gertie (Drew Barrymore), Elliott attempts to aid and to domesticate E.T., who, though he's only a little taller than a coffee table, is both civilized and learned. More than anything else, the patient, gentle-natured E.T. wants to go home. ''E.T. the Extra-Terrestial,'' which opens today at Loews Manhattan Twin Cinema and other theaters, may become a children's classic of the space age. The film, directed by Mr. Spielberg and written by Melissa Mathison from an idea of Mr.

Spielberg, freely recycles elements from all sorts of earlier children's works, including ''Peter Pan'' and ''The Wizard of Oz.'' ''E.T.'' is as contemporary as laser-beam technology, but it's full of the timeless longings expressed in children's literature of all eras. Mr. Spielberg and Miss Mathison have taken the tale of Dorothy and her frantic search for the unreliable Wizard of Oz and turned it around, to tell it from the point of view of the Scarecrow, the Cowardly Lion and the Tin Woodman. Dorothy has become E.T., Kansas is outer space, and Oz is a modern, middle-class real-estate development in California. ''E.T.'' is not to be compared with Mr. Spielberg's ''Poltergeist,'' which is a child's ferocious nightmare recreated as a film. ''E.T.'' is a slick, spirited comedy about children's coping in a world where adults have grown up and away from innocence. Elliott, Michael, Gertie and their friends must protect E.T. from their elders, who are trying to catch E.T.

to study him, to subject him to all sorts of unspeakable tests and, possibly, to dissect him like a frog. It isn't difficult to fool Elliott's mother, Mary (Dee Wallace). She is a loving parent but so preoccupied by her recent separation from the children's father that when E.T. totters across the kitchen, she doesn't see him. It's more difficult outwitting the Government security people, who have somehow gotten wind of E.T.'s presence. Then, too, there's E.T.'s terrible homesickness, which has all of the symptoms of a terminal disease. Mr. Spielberg may not have photographed ''E.T.'' entirely at a child's eye-level, but the film gives that impression. It's a wise film without being smart-alecky, even if the children, when alone, talk a lot more vulgarly than many parents would be happy to hear. The problems faced by Elliott, E.T. and the others are mostly comic ones. How to get E.T. out of the house, unseen, so that he can build a radar with which to communicate with his associates?

The children wait till Halloween, throw a sheet over his head and lead him boldly through the front door. Once outside, E.T. finds the neighborhood alive with other creatures, some more familiar - children in costumes inspired by characters from ''The Empire Strikes Back'' -than others, children disguised as terrorists. The most difficult problem is saving E.T.'s life, once the earth's polluted atmosphere has caught up with him, and just how this is accomplished, I'm not completely certain. There are some subtleties in the narrative toward the end that, I suspect, only a child will fully grasp. The special effects, including flights through the air on ordinary bicycles, are beautifully realized. The best one of all is the E.T. itself, created by Carlo Rambaldi. E.T., who looks a lot like the creatures seen at the end of Mr. Spielberg's ''Close Encounters of the Third Kind,'' walks, talks, plays jokes, does tricks, gets tipsy and, at a crucial moment, even seems on the point of weeping a large, probably salt-free, tear. Mr. Thomas, Mr.

Macnaughton and Miss Barrymore give most appealing, modest performances of the sort we now associate with children in Spielberg films, especially with Cary Guffey in ''Close Encounters of the Third Kind.'' A couple of minor reservations: John Williams's soundtrack music is beginning to sound just a tiny bit familiar, not all that different from the scores he has done for ''Star Wars,'' ''Close Enounters'' and ''Raiders of the Lost Ark,'' among others. Also, at the end of the film, there is an all-out assault on the emotions that depends, it seems, more on the rising volume of this music than on the events portrayed. ''E.T.'' is good enough not to have to resort to such tricks. ''E.T.,'' which has been rated PG (''Parental Guidance Suggested''), contains some mildly vulgar language. Enchanted Fantasy E.T., directed by Steven Spielberg; written by Melissa Mathison; director of photography, Allen Daviau; edited by Carol Littleton; music by John Williams; produced by Mr. Spielberg and Kathleen Kennedy; released by Universal Pic- tures.

At the Bay Cinema, Second Avenue and 31st Street; New York Twin, Second Avenue and 66th Street; Movieland, Broadway and West 47th Street, and other theaters. Running time: 120 minutes. This film is rated PG. Mary . . . . . Dee Wallace E.T. the Extra-Terrestrial | Moviepedia | Fandom powered by Wikia Box office $792,910,554 E.T. the Extra-Terrestrial (often referred to simply as E.T.) is a 1982 American science fiction film coproduced and directed by Steven Spielberg and written by Melissa Mathison , featuring special effects by Carlo Rambaldi and Dennis Muren , and starring Henry Thomas , Dee Wallace , Robert MacNaughton , Drew Barrymore , and Peter Coyote . It tells the story of Elliott (played by Thomas), a lonely boy who befriends an extraterrestrial, dubbed "E.T.", who is stranded on Earth. Elliott and his siblings help it return home while attempting to keep it hidden from their mother and the government.

The concept for the film was based on an imaginary friend Spielberg created after his parents' divorce in 1960. In 1980, Spielberg met Mathison and developed a new story from the stalled science fiction/horror film project Night Skies . It was shot from September to December 1981 in California on a budget of US$10.5 million. Unlike most motion pictures, it was shot in roughly chronological order, to facilitate convincing emotional performances from the young cast. Released by Universal Pictures , the film was a blockbuster, surpassing Star Wars to become the highest-grossing film of all time—a record it held for ten years until Jurassic Park , another Spielberg-directed film, surpassed it in 1993. Critics acclaimed it as a timeless story of friendship, and it ranks as the greatest science fiction film ever made in a Rotten Tomatoes survey. The film was re-released in 1985, and then again in 2002 to celebrate its 20th anniversary, with altered shots and additional scenes. Plot Edit In a California forest, a group of alien botanists are collecting flora samples.

As one gathers samples and begins to head back to the ship, a car with government agents appears on the scene. The alien tries to flee from them, only to arrive as the ship leaves. The scene shifts to a suburban home, where a 10-year-old boy named Elliott ( Henry Thomas ) is trying to hang out with his 16-year-old brother Michael ( Robert MacNaughton ) and his friends. As he returns from picking up a pizza, Elliott discovers that something is hiding in their tool shed. When he tells Michael and his friends, they go to the shed but find nothing. However, after everybody is in bed at night, Elliott sneaks out to investigate, following footsteps into a cornfield, discovering a strange-looking creature. Frightened by each other, both run off screaming. Despite his family's disbelief, Elliott lures the alien from the forest to his bedroom using a trail of Reese's Pieces. Before he goes to sleep, Elliott realizes the alien is imitating his movements. Elliott feigns illness the next morning to stay home from school and play with the alien.

Later that day, Michael and their 5-year-old sister Gertie ( Drew Barrymore ) meet him, and the three decide to keep him hidden from their mother. When they ask it about his origin, the alien levitates several balls to represent the solar system and then demonstrates his powers by reviving a dead geranium. At school the next day, Elliott begins to experience a psychic connection with the alien, including exhibiting signs of intoxication due to the alien drinking beer, and Elliott begins freeing all the frogs in a biology class that they were about to dissect. As the alien watches John Wayne kiss Maureen O'Hara in The Quiet Man , Elliott kisses a girl he likes. The alien learns to speak English by repeating what Gertie says as she watches Sesame Street and, at Elliott's urging, dubs himself "E.T." He reads a comic strip where Buck Rogers, stranded, calls for help by building a makeshift communication device, and is inspired to try it himself. He gets Elliott's help in building one to "phone home" by using a Speak and Spell toy. Michael notices that E.T.'s health is declining, but Elliot denies this and begins to refer to himself as "we".

On Halloween, Michael and Elliott disguise E.T. as a ghost so they can sneak him out of the house, fooling their mother into thinking the ghost is Gertie. Elliott and E.T. ride the latter's bicycle to the forest, where E.T. makes a successful call home. The next morning, Elliott wakes up in the field, only to find E.T. gone, so he returns home to his distressed family. Michael searches for and finds E.T. dying in a ditch and takes him to Elliott, who is also dying. Their mother becomes frightened when she discovers Elliott's illness and the dying alien, just as government agents invade the house. Scientists set up a medical facility there, quarantining Elliott and E.T. Their link disappears and E.T. then appears to die while Elliott recovers. A grief-stricken Elliott is left alone with the motionless E.T. when he notices a dead geranium, the plant E.T. had previously revived, coming back to life. E.T. reanimates and reveals that his people are returning. Elliott and Michael steal the van that E.T.

had been loaded into and a chase ensues, with Michael's friends joining them as they attempt to evade the authorities by bicycle. Suddenly facing a dead end, they escape as E.T. uses telekinesis to lift them into the air and toward the forest. Standing near his spaceship, E.T.'s heart glows as he prepares to return home. Mary, Gertie, and "Keys", a government agent, show up. E.T. says goodbye to Michael and Gertie, as the latter presents him with the geranium that he had revived. Before entering the spaceship, E.T. tells Elliott "I'll be right here", pointing his glowing finger to Elliott's forehead. He then picks up the geranium Gertie gave him, boards the spaceship before it takes off as Elliott and the rest watch, leaving a rainbow in the sky. Cast ‎E.T. the Extra-Terrestrial (1982) directed by Steven Spielberg • Reviews, film + cast • Letterboxd 36 It is only very recently that I discovered that some people don’t like E.T. the Extra-Terrestrial.

Sure, it is unapologetically sentimental, and the title character resembles a talking turd, but you’ve got to be a heartless bastard not to be swept away by this heartbreaking story about a lost little alien and a young boy in desperate need of a friend. Spielberg has been criticised for being too sentimental throughout his career but I think sentimentality can work well when handled correctly. In E.T. the Extra-Terrestrial the story wouldn’t work if it wasn’t sentimental, it is a platonic love story after all, and if a love story can’t be emotionally heightened I don’t know what can. Spielberg is careful to… 9 With innocence at its heart & sheer magic on its surface, E.T. the Extra-Terrestrial is one of the most adored, admired & beloved films of all time which with its emotionally stirring narration, stunning portrait of childhood & exquisite depiction of the beauty of friendship ends up being a truly magical & spellbinding experience that still appeals to viewers of all ages. It tells the story of an alien left behind on the planet by its peers when they take off in a hurry due to human interference. All alone on Earth by himself, E.T.

eventually finds shelter in Elliot's home in whom he also finds an emotional companion & friend. What follows next is E.T.'s more acquaintance with Elliot's siblings, his adventures in the… 50 I don't know if I should mark this as watched or rewatched, since I can't remember if I actually watched this once before in my younger days or later on. Of course I know about what happens, I mean good god, who doesn't at this point? But I don't really have very good memories of watching this in it's entirety. Maybe I did? Maybe I didn't? I can't entirely remember. But all I do know is that this was my first real time sitting down, popping in an old VHS I happened to own of this (YEAH I DON'T OWN/USE BLU-RAYS BECAUSE I'M UNEMPLOYED AND DON'T HAVE A WHOLE LOT OF MONEY! BITE ME!), and watched it all the way… 1 The forest. Dark. Damp. Cold. Alone. The beginning of Steven Spielberg's E.T. The Extra-Terrestrial is unparalleled in its purity and sustained beauty and fear.

It is a simple beginning of a simple story, one that is heightened by Spielberg's immaculate direction and John Williams' faultless score. E.T. sees the world at its core, full of wonder (the rabbit), mystery (the tall trees), and fear (the group of men). Personally speaking, I don't think there's a better opening sequence in any film than in E.T. The Extra-Terrestrial. It is both an introduction to the masterful story and a culmination of all the wonderful aspects of the film as a whole. It's sentimental without being sappy, It's scary without being traumatizing (that's… Review by PhilGariepy ★★★★½ Première fois que je le voyais en tant qu'adulte. Y'a pas grand-chose que je puisse rajouter qui n'a pas été déjà dit par tout le monde, sauf que finalement, c'est vrai que c'est un des meilleurs films pour enfants de l'histoire du cinéma. La direction photo, surtout des scènes nocturnes, m'a particulièrement frappée; on y va un peu fort avec la boucane, mais ça crée un atmosphère féérique incomparable.

Un gros shout out aussi au storytelling hyper simple mais qui ne prend jamais le spectateur pour un cave : on n'a aucun moment d'exposition, les pouvoirs d'ET ne sont jamais clairement expliqués, Spielberg ne fait que montrer, souvent sans dialogues, et c'est la force pure de son montage qui réussit… Super Reviewer ½ SO WONDERFUL! It's even sadder and more heartfelt watching this as an adult! The bikes flying is so triumphant, and the sibling loyalty is touching. Henry Thomas is hella amazing, in all his shrieky terror and drunken stupors. I'm surprised he didn't get nominated for an Oscar! Alice Shen Super Reviewer Excellent movie about a boy who finds an alien and tries to help him get home. I cry every time I watch this movie. My favourite scene is the iconic bicycle ride by moonlight. Amazing! Candy Rose Super Reviewer If you have not seen this movie at least once, then I must ask you one thing: Why? E.T. is about an alien who is accidentally left on Earth by his spaceship and he befriends a young boy named Elliot who soon discovers him.

I want to start by saying that the opening title for the movie is just plain eery. There's a weird and deep sound playing in the background it doesn't really sound like music. Then it just shows these short, dark figures moving around in the dark and isolated forest. I was about 5 or 6 years old the first time I saw this so I was under the assumption that this was some kind of horror movie. As the movie progresses, we're introduced to Elliot and his family. Elliot is played by Henry Thomas and he's really good in his role. Most kid actors usually suck, but Thomas is an exception. Drew Barrymore plays Elliot's little sister and she's the most well-known person in the movie. Yep, despite the success of E.T., most of the actors careers never got boosted and Barrymore was able to move on to other stuff like.....Family Guy? Anyway, I also feel the need to address a scene that scarred me as a child: The scene in the cornfield when Elliot is looking for E.T. in the beggining of the movie. It's a very creepy and tense scene and when the climax of the scene hits, your kids might end up having nightmares. When Elliot and E.T.

eventually see eachother properly for the first time, the friendship starts and you immediately buy it. Elliot is the middle child in his family, his parents are divorced and you obviously get the sense that he's a lonely person in need of a companion. If he didn't meet E.T., I'm pretty sure he would become a drug addict. All the scenes with Elliot and E.T. are really well done. They're full of humor, emotion, a strong sense of curiosity and understanding and it makes for a great story of friendship. The special effects for E.T. are also fantastic. I've always preffered puppetry over CGI and this is one of those movies that shows why. It just pisses me off that Steven Spielberg went back and updated the film so that E.T. is a shallow piece of computer animation in the DVD. Not only that, but he also did a lot of stupid shit like digitally replacing all the guns with walkie-talkies. It may seem like I hate CGI, but I don't. I think it's a great and useful tool, but I just hate the people who overuse and abuse it. I'm just glad I own the original VHS copy of this movie.

While speaking on technical aspects, I also have to praise the music for the film. John Williams did such an excellent job on creating a memorable score. It's an unforgettable piece of music and it's one of my all time favorite scores. Without spoiling anything, I'm also going to comment on the ending. It's such an emotional scene that always overwhelms me. It perfectly ends the movie and it's one of those things that just makes you sad. E.T. is one of my all time favorite movies and I don't see myself getting bored with it. It's a classic and if you haven't seen it, then find a way to watch it. Tyler Robertson E.T.

The Extra Terrestrial (1982) | Melodrama Research Group Reply Posted by Sarah The post-screening discussion ranged far and wide, addressing several areas: the debate as to whether Tobe Hooper or Steven Spielberg directed the film; comparisons to other Spielberg films; the film’s relation to drama and melodrama; the film’s central themes of love and family; how the comedic aspects affected the drama, melodrama and horror; some staples of the horror film gene; parapsychologist Dr Lesh’s function; more specific aspects of the film including set design, particular shots and the use of music; comparisons to non-Spielberg films. As ever, do leave comments or email me at sp458@kent.ac.uk to add your thoughts. We started by referencing Warren Buckland’s Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster (Continuum, 2006) in which Buckland analysed Poltergeist’s shot lengths and concluded that the film bore close relation to films directed by Tobe Hooper, rather than those directed by Steven Spielberg.

However, the group thought that despite this, the film felt like a Spielberg movie– and he was indeed responsible for the film’s story as well as co-writing and co-producing it. On a very general level, Poltergeist was reminiscent of Spielberg’s Jaws (1975), Close Encounters of the Third Kind (1977), E.T. The Extra Terrestrial (1982) and its mix of comedy quips and adventure/horror very similar to Spielberg’s Raiders of the Lost Ark (1981). It was noted that Poltergeist’s parents Steve (Craig T. Nelson) and Diane (JoBeth Williams) had a similar sense of fun to the parents in Jaws, despite the arrival of children. The fact that the film showing on the family’s TV at one point – A Guy Named Joe (1943) – was later remade by Spielberg into Always (1989) was also commented on as further evidence of Spielberg’s close involvement. It was thought that a reason Spielberg might not have been credited as co-director was that he was exclusively contracted as director on E.T. at the time.

So how might the presence of Spielberg’s guiding hand affect the dramatic and melodramatic aspects of the film? Kat interestingly proposed that Spielberg had ‘blockbusterised’ 1930s and 1940s melodrama. It was agreed that the main connection to melodrama was the emphasis on excessive emotion and the heightened drama. The film’s main themes regarding the power of love and the family and the very high stakes involved – the average American Family under attack from The Beast – were also related to this gesture towards the excessive. In addition, the characters’ relationships with one another were understandably highly emotional. This was aided by the use of non-diegetic music which inspired an emotional response from the audience. As well as at the level of the plot and theme, the cinematic treatment was excessive – the blockbuster special effects for example. This relates well to some of our other discussion about melodrama. Is melodrama most visible at the level of plot (the suffering of characters – as seen in Poltergeist when the family loses its youngest member) or the way in which the story is told?

At this point, John Mercer and Martin Shingler’s Melodrama: Genre, Style, Sensibility (Wallflower Press, 2004) in which the authors state that melodrama is perhaps not a genre, but a sensibility or mood was considered. It was also suggested that Poltergeist’s excessive plot and treatment (especially its dramatic, or melodramatic, elements) were what made the film, essentially hokum, believable, at least at the moment of viewing. In addition, sentimentality, which is certainly one of Spielberg’s hallmarks, was present throughout the film and is arguably connected to melodrama. This sentimentality contributed to the fact that the film, while it had elements of horror, was not too frightening. We also linked this to the comedy aspect present in several Spielberg films. The squabbling siblings reminded us of a US family sitcom. The sudden intrusion of the horrific elements was therefore in some ways surprising. While this might be thought to lead to extra-shock value, it generally toned down the horror elements as it seemed likely that the familiar comedy component would soon return.

It was noted that no one actually dies in Poltergeist – which is highly unusual for a horror film and part of what contributes to its status as a family-oriented horror film. Some more usual motifs of horror were present though. The house was of course revealed to have been built on top of an uncleared cemetery and the family’s ordeal was not over when the characters believed it to be. Characters outside the family in Poltergeist were also discussed. We particularly focused on the parapsychologist Dr Lesh (Beatrice Straight). It was thought to be significant that as an outsider, and one who must to some extent suspend any disbelief she might feel, Dr Lesh functioned as a mirror for the audience. She acted as intermediary between us and the film’s moments of excessive drama. As an investigator of parapsychology she of course only appears after Carol-Ann is abducted – once the film’s drama has become excessive. She appeared to provide a sense of stability for the audience, therefore, and she explicitly acts in this way for Diane. The Doctor promises she will return, and the pair shares an emotional hug which marks Dr Lesh as a mother surrogate.

Other specific moments of the film we focused on included the shot which magically lengthened the landing corridor as Diane was attempting to reach the end of it to rescue her children. It was thought that the shot itself seemed out of place with the rest of the film, although the sense of urgency it engendered chimed well with the heightened drama. The pan ‘reveal’ which showed that the proposed housing development would be built on was also commented on. The prominent position the staircase occupied in Poltergeist was focused on. This relates to melodrama in terms of spectacle, although in this instance the stairs’ almost freakishly organic, twisty, appearance was deemed unusual. We also found some echoes of Poltergeist in later films. The plot was compared to that of Labyrinth (1986, Jim Henson), while Poltergeist’s beginning was related to that of A History of Violence (David Cronenberg, 2005) and the bobbing corpses in the back garden to Sam Raimi’s Drag Me To Hell (2010). The latter is on UK TV this Sunday – Channel 5 9-11.05 pm – if you want to catch it.

We did not get around to discussing Thomas Elsaesser’s article on the family melodrama, but if anyone would like to do so, just add a comment. It should also bear relevance to next week’s screening. Many thanks to Kat for choosing such an enjoyable, thought-provoking and, at times, quite scary film, and for providing other food for thought! Reply Posted by Sarah All are welcome to attend the third of the Summer Term’s screening and discussion sessions which will take place on the 22nd of May in Jarman 7, from 4pm to 7pm.

We will screen Katerina’s choice:Poltergeist (1982, Tobe Hooper, 114 mins) Katerina has very kindly provided the following information: “One might suggest that the overall development of the Hollywood cinema from the late 60s to the 80s is summed up in the movement from Romero’s use of the Star Spangled Banner (the flag) at the beginning of Night of the Living Dead to Spielberg’s use of it (the music) at the beginning of Poltergeist.” (Robin Wood, ‘Papering the Cracks: Fantasy and Ideology in the Reagan Era,’ Hollywood: From Vietnam to Reagan) Poltergeist, directed by Tobe Hooper was released in 1982 and has been described by Robin Wood as “Tobe Hooper’s worst film”, precisely because it has the look of a Stephen Spielberg film (Spielberg co-wrote and was co-producer of the film). Made on an estimated budget of $10m, it grossed over 7 times that in the US market alone. Its success spurred the studios on to make a further two films and a TV series in the 1990s.

As with Jaws and its sequels, however, Poltergeist’s sequels offered decreasing financial and artistic rewards. There is no doubting that Poltergeist belongs to the horror genre, but it is worthwhile reflecting upon the more melodramatic aspects of the film which arguably underpin its structure and success. If we remove “horror” from our approach, the film could be easily described as a family melodrama or drama, as the narrative is purely based on a family searching for their missing daughter (albeit a daughter “lost” in the ether of the spirit world via the TV). Much of the film focuses on the emotive interchanges between the family and the outsiders that aid the return of the daughter to the family. The camera stays close to the characters to heighten the emotions felt by the characters and the necessary emotive response required from the audience. The film updates the Gothic house in line with the concerns of the 1980s and that decade’s ideologies (references to Reaganism run throughout the film). Familial and homely space are explored in the narrative and presented at odds with the attainment of the American dream.

Indeed, in his postscript on Poltergeist in Hollywood: From Vietnam to Reagan, Robin Wood touches on three important elements of the film; the representation of the all American family, the drive for the American dream and the influence of Spielberg. The themes that could be focused on in the discussion are: The blockbuster as melodrama? The reconfiguration of the Gothic house in Poltergeist. The importance of space, for example the staircase. The influence of Spielberg, especially to the camerawork and aesthetics, and how this aids in anchoring melodrama to the film (consider it in relation to Jaws, E.T. and Raiders of the Lost Ark). It may be worth reading, ‘Tales of sound and fury. Observations on the Family Melodrama’ by Thomas Elsaesser. Do join us if you can. And please note we start at 4pm. E.T. The Extra-Terrestrial DVD (Trailer) - YouTube E.T. The Extra-Terrestrial DVD (Trailer) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading...

Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Aug 3, 2011 E.T. the Extra-Terrestrial (often referred to simply as E.T.) is a 1982 American science fiction film co-produced and directed by Steven Spielberg, written by Melissa Mathison and starring Henry Thomas, Dee Wallace, Robert MacNaughton, Drew Barrymore, and Peter Coyote. It tells the story of Elliott (played by Thomas), a lonely boy who befriends an extraterrestrial, dubbed "E.T.", who is stranded on Earth. Elliott and his siblings help the extraterrestrial return home while attempting to keep it hidden from their mother and the government. The concept for E.T. was based on an imaginary friend Spielberg created after his parents' divorce in 1960. In 1980, Spielberg met Mathison and developed a new story from the stalled science fiction/horror film project Night Skies. The film was shot from September to December 1981 in California on a budget of US$10.5 million.

Unlike most motion pictures, the film was shot in roughly chronological order, to facilitate convincing emotional performances from the young cast. Released by Universal Pictures, E.T. was a blockbuster, surpassing Star Wars to become the most financially successful film released to that point. Critics acclaimed it as a timeless story of friendship, and it ranks as the greatest science fiction film ever made in a Rotten Tomatoes survey. The film was rereleased in 1985, and then again in 2002 with altered special effects and additional scenes. Category E.T. the Extra-Terrestrial - Wikiquote E.T. the Extra-Terrestrial Jump to: navigation , search E.T. the Extra-Terrestrial , known as E.T., is a 1982 science fiction film about Elliott, a young boy who befriends an alien being trapped on Earth and trying to find his way home. Elliott and his siblings help the alien return home while trying to keep him hidden from their mother and the government. Directed by Steven Spielberg . Written by Melissa Mathison . He is afraid. He is totally alone. He is 3 million light years from home. Gertie: What are you going as for Halloween?

Elliott: I'm not going to stupid Halloween. Michael: Why don't you go as a goblin? Elliott: Shut up. Mary: It's not that we don't believe you, honey. Elliott: Well, it was real, I swear! Mary: [changing the subject] What are you going as, Gert? Gertie: [with steak in mouth] I'm going as a cowgirl. Elliott: So, what else is new? Michael: Maybe it was an iguana. Elliott: It was no iguana. Michael: Maybe uh... uh... You know how they say there are, uh, alligators in the sewers? Gertie: Alligators in the sewers. Mary: All we're trying to say, is maybe you just probably imagined it. Elliott: I couldn't have imagined it! Michael: Maybe it was a pervert, or a deformed kid or something. Gertie: A deformed kid. Michael: Maybe, uh, an elf or a leprechaun. Elliott: [stands up angrily] IT WAS NOTHING LIKE THAT, PENIS-BREATH!

Mary: [laughs in shock] Elliott! [sternly] Sit down. Ahem. Elliott: [sitting down] Dad would believe me. Mary: Maybe you oughtta call your father and tell him about it. Elliott: I can't. He's in Mexico with Sally. Gertie: Wh-Where's Mexico? Mary: Excuse me. [leaves the table and walks to the window] Michael: [softly to Elliott] I'm gonna kill you. Mary: If you ever see it again, whatever it is, don't touch it, just...call me and we'll have somebody come and take it away. Gertie: Like the dogcatcher? Elliott: But they'll give it to a lobotomy or do experiments on it or something. Mary: It's your turn to do the dishes, fellas. Michael: I set and cleared. Elliott: I set and cleared. Michael: [quickly] I did breakfast. Gertie: I did breakfast. [the kids hear Mary slam a pot down on the sideboard] Michael: What's wrong, Mom? Mary: [emotionally] He hates Mexico.

Michael: [to Elliott] Damn it, why don't you grow up and think about how other people feel for a change?! Michael: [in awe, upon seeing E.T.] Elliott. Elliott: I'm keeping him. Gertie: What is it? Elliott: He won't hurt you, Gertie. He won't hurt you, Gertie. He's not gonna hurt you. Gertie: Is he a boy or a girl? Elliott: He's a boy. Gertie: Was he wearing any clothes? Elliott: No. But look. You can't tell, not even Mom. Gertie: Why not? Elliott: Because, um, grown-ups can't see him. Only little kids can see him. Gertie: [snapping back] Give me a break. Elliott: [imitating Count Dracula] Well, do you know what's going to happen if you do tell? [tosses Gertie's stuffed rabbit to Michael] Do it, Mike. We have to. Gertie: [tugging her doll with Michael] Give it to me! [E.T.

watches intently] Elliott: [to Michael] Do you promise? [his brother nods] Mary: What are you doing, Gertie? Gertie: I'm going to play in Elliott's room. Mary: OK, don't let them torture you. Gertie: I won't, Mary. Michael: [about E.T.] Did you explain school to him? Elliott: How do you explain school to a higher intelligence? Michael: Maybe he's not that smart. Maybe he's a worker bee who only knows how to push buttons. Elliott: He's too smart. Michael: All right. I just hope we don't wake up on Mars or somethin' surrounded by millions of these squashy little guys. [Mary hits E.T. with the refrigerator door] Gertie: Here he is. Mary: [absently] Here's who? Gertie: The man from the moon. But I think you've killed him already. Mary: Just as soon as I unload this stuff, OK? [inspects a small basket of cherry tomatoes] Medbugs. Gertie: I want you to meet somebody. ... [after E.T.

learns how to talk] Mary: Gertie, I've gotta go pick up Elliot. Will you be a good girl until I get back? Gertie: Mommy, he can talk! Mary: [thinking she meant Elliott] Of course he can talk. I'll be back in 10 minutes. Stay there. Elliott: Oh, God! Gertie: I taught him how to talk. He can talk now. Elliott: Wait. Can you say 'E.T.'? E.T.? E.T.: E.T. E.T.: E.T.! E.T.! E.T.! Be good. Gertie: 'Be good'. I taught him that too. Elliott: You should give him his dignity. This is the most ridiculous thing I've ever seen. E.T.: Phone. Home. [pointing at the window] E.T. home phone. Gertie: E.T. phone home. Elliott: E.T. phone home. E.T. phone home! Gertie: He wants to call somebody. Michael: [entering the room] What's all this shit? E.T.: [famous line] E.T. phone home.

Michael: My God, he's talking now. E.T.: Home. E.T.: E.T. phone home. [pointing at the window again] Elliott: And they'll come? Michael: Mom, would you come with me? Mary: What is it? Michael: Mary, just come with me. Mary: Michael, what? Michael: Mom, remember the goblin? Mary: Michael, what are you talking about? Michael: Just swear the most excellent promise you can make. Mary: [annoyed] Michael. [Michael opens the door, showing E.T. and Elliott] Mary: That's terrific. Elliott: We're sick. I think we're dying. Scientist: Does he sleep at night? Mary: I don't know, I don't know. What's the matter with Elliott? Scientist: Have you noticed any surface sweating? Mary: No. Scientist: Has it lost any hair? Gertie: He never had any hair. Scientist: Are the children all right? Mary: Yes. Scientist: Has it built anything or written anything down? Michael: Uh, no. Scientist: You said it has the ability to manipulate its own environment? Michael: He's smart.

He communicates through Elliott. Scientist: Elliott thinks its thoughts. Michael: No, Elliott... Elliott feels his feelings. Keys: Elliott, I've been to the forest... Elliott, that machine. What does it do? Elliott: The communicator? Is it still working? Keys: It's doing something. What? Elliott: I really shouldn't tell. He came to me. He came to me. Keys: Elliott, he came to me, too. I've been wishing for this since I was 10 years old. I don't want him to die. What can we do that we're not already doing? Elliott: He needs to go home. He's calling his people, and I don't know where they are. He needs to go home. Keys: Elliott, I don't think that he was left here intentionally. But his being here is a miracle, Elliott. It's a miracle. And you did the best that anybody could do. I'm glad he met you first. Elliott: E.T., stay with me. Please... E.T.: ...stay. Elliott: Together. I'll be right here. I'll be right here.

E.T.: Stay, Elliott. Stay. Stay. Stay. Stay. Scientist: The boy's coming back. We're losing E.T.. Elliott: E.T., answer me, please. Please. Gertie: [about E.T.] Is he dead, Mama? Mary: I think so, sweetheart. Gertie: Can we wish for him to come back? Mary: Yeah. Keys: They're gonna have to take him away now. Elliott: They're just gonna cut him all up. Keys: Would you like to spend some time alone with him? [Elliott is left alone with E.T.] Elliott: Look at what they've done to you. I'm so sorry. You must be dead, 'cause I don't know how to feel. I can't feel anything anymore. You've gone someplace else now. I'll believe in you all my life, every day. E.T., I love you. [E.T.'s heart light glows and he is revived] E.T.: E.T. phone home. Phone home, phone home. Gertie: [tearfully] I just wanted to say goodbye.

Michael: He doesn't know 'goodbye.' E.T.: Be good. Gertie: Yes. [kisses E.T.'s nose] [Michael gently strokes E.T.'s head] E.T.: Thank.... you.

Question: Who directed the 1982 film 'E.T.'?
Answer: STEVEN SPEILBERG